Political Iconography in Contemporary Art

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dc.contributor.authorIsik, Vildan
dc.date.accessioned2025-10-11T20:47:52Z
dc.date.available2025-10-11T20:47:52Z
dc.date.issued2025
dc.departmentDüzce Üniversitesien_US
dc.description.abstractIn a contemporary society characterised by fragmentation and complexity, political iconography has re-emerged as a potent tool for challenging authority and exploring themes of identity and dissent. This study examines the ways in which artists such as Banksy, Barbara Kruger, Ai Weiwei, and Shepard Fairey employ iconography not merely as a vehicle for conveying imagery but also as a transformative language of resistance. These artists use physical and digital spaces to amplify sociopolitical tensions, embedding complex messages within symbols. This approach encourages audiences to confront the underlying power structures and collective identities. While political iconography is often associated with the concepts of power, authority, rebellion, and propaganda, theoretical approaches to iconography frequently focus on its structural principles rather than its role within political ideologies, state control, or activist art. This study aims to address this lacuna by examining how visual symbols function within the frameworks of oppression and resistance, thereby revealing their role as instruments of ideological negotiation. By employing a targeted approach that combines case studies and visual analysis of four artists with distinct approaches, this research demonstrates that visual symbols are not merely aesthetic; rather, they serve as influential agents within the collective consciousness. The findings indicate that this evolving visual lexicon not only reflects contemporary issues but also serves as a catalyst for public engagement, thereby blurring the boundaries between observer and participant. By analysing the strategic use of symbols in visual activism, this study contributes to an understanding of iconography as an essential element of modern resistance and examines the potential of non-verbal critique in the digital age.en_US
dc.identifier.doi10.26650/sty.2025.1583771
dc.identifier.endpage304en_US
dc.identifier.issn0579-4080
dc.identifier.issn2717-6940
dc.identifier.issue34en_US
dc.identifier.scopus2-s2.0-105009752079en_US
dc.identifier.scopusqualityQ4en_US
dc.identifier.startpage277en_US
dc.identifier.urihttps://doi.org/10.26650/sty.2025.1583771
dc.identifier.urihttps://hdl.handle.net/20.500.12684/21620
dc.identifier.wosWOS:001532983400011en_US
dc.identifier.wosqualityN/Aen_US
dc.indekslendigikaynakWeb of Scienceen_US
dc.indekslendigikaynakScopusen_US
dc.institutionauthorIsik, Vildan
dc.language.isotren_US
dc.publisherIstanbul Univen_US
dc.relation.ispartofJournal of Art History-Sanat Tarihi Yilligien_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.snmzKA_WOS_20250911
dc.subjectWeiweien_US
dc.subjectBanksyen_US
dc.subjectBarbara Krugeren_US
dc.subjectPolitical iconographyen_US
dc.subjectShepard Faireyen_US
dc.titlePolitical Iconography in Contemporary Arten_US
dc.typeArticleen_US

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